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Good Housekeeping’s 

PRACTICAL LESSONS 

in making 

SMART CLOTHES 


By 

Laura Ir'Baldt, A. M. 

n 

^iss Baldt is Assistant Professor of Household Arts, at 
Teachers College, Columbia Unvversity, Neit) York City 

Trice yo cents 










Contents 


Lesson One . Page i 

Fundamental Stitches 

Lesson Two . lo 

Paper Patterns—how to use, test 
and alter them to fit individual 
requirements 

Lesson Three . i 5 

Fine Lingerie of Simple Design 

Lesson Four . 20 

Children’s Clothes 

Lesson Five . 33 

How to Make a Smart Maternity- 
Frock 

Lesson Six .: 39 

Baby’s First Clothes 

Lesson Seven. 45 

A Tailored Sports Frock and 
Chiffon Evening Dress 

Lesson Eight. 50 

A Tailored Street Frock 

Lesson Nine . 55 

Gowns for Festive Occasions 

Lesson Ten . 60 

Afternoon Gown 

Lesson Eleven __ 65 

The Costume Complete 


Instructions for ordering patterns will be 
found in each lesson. All orders should be 
addressed to Good Housekeeping Pattern De¬ 
partment, 119 West ^th St., New York City. 


NOV -8 

C1A807758 























Lesson One 


Fundamental Stitches 

F amiliarity with the names, character, 
and method of making the fundamental stitches 
used In sewing. Is a great asset to the home sewer, 
because It enables her not only to follow directions 
more intelligently, but makes for greater efficiency 
In her work. It Is for this purpose, that the lesson 
on stitches has been Incorporated In this booklet. 
You will notice that not only is the method of mak¬ 
ing the stitch shown In the Illustration, but also the 
position of the needle in the cloth while doing so. Se¬ 
lection has been made of the most necessary stitches 
and careful mention of their use has been made. 

Running Stitch: The simplest stitch In 
formation isi the running stitch, which together with 
Its variations has many uses,—seaming, basting, 
tucking, gathering, shirring. A running stitch is 
not a strong stitch, and cannot therefore be used 
where there is much strain. To make the stitch, 
put the needle through the cloth and take up a few 
threads, pass over as many or more, depending 
upon the: use and the quality of the cloth (Fig. r). 
This stitch may be used for sewing tucks In sheer 
materials such as are used for lingerie. Infant’s 
clothes, women’s and children’s dresses; also for 
the first sewing of a French seam. 

Even Basting: The stitches should be the 
same length on both sides of the cloth (Fig. 2 )^ 
It should be used where there is strain In fitting as 
in a waist or the upper part of a skirt. 

[ 1 ] 



LESSON ONE 


Uneven Basting : Long stitch on the right side 
of the seam and a short stitch on the under side of 
the seam. This stitch forms a good line for a guide 
in stitching a seam. When the end of the seam is 
reached take two or three stitches diagonally, so as 
to hold the seam, but not make it difficult to re¬ 
move the bastings. Clip bastings at intervals be¬ 
fore removing them, so as not to mar the materials 
when drawing them out (Fig. 3 ). 

Gathering is a form of running stitch used 
when it is necessary to draw up a larger piece of 
cloth to fit a smaller, as in placing bands on draw¬ 
ers, skirts, aprons, dresses and so on. Gathers are 
“stroked’’ or “pulled” to make the folds take form 
when the garment is being stitched, and later laund¬ 
ered. If gathers are to be pulled, use even running 
stitches; if stroked, use uneven. 

Mark the part to be gathered and the band in 
equal sections. The thread should be a little longer 
than the space to be covered. Make a knot, and 
begin to sew about one-quarter inch from the edge 
of the cloth, taking one stitch back of the knot, so 
that it cannot pull out. Do not draw the needle 
out of the cloth until you have reached the end of 
the space to be covered; if the material crowds the 
needle push it off over the eye, but do not remove 
the needle (Fig. 4 ). 

Stroking: Put a pin in the cloth at the end 
of the gathering thread; draw the thread up so that 
the gathers are very close and fasten thread around 
pin; with the point of a blunt needle, stroke down 
[ 2 ] 




LESSON ONE 



Fig. 1 Running Stitch 



U-J 

Fig. 2 Even Basting 


beside each fold, and press it against the preceding 
one; this makes gathers iron well. 

Pulling: Pin the gathered section to the knee 
and wind the gathering thread, after drawing it 
up, securely around the pin. Then hold the gath¬ 
ered section so that the first finger of the left hand 
is below and parallel to the gathering thread on 
the under side, and the thumb on the gathering 
thread on the right side; then pull the gathers with 
the right hand, down over the cushion of the finger 
of the left hand, and against the thumb. 

Shirring is used for decoration, or where it is 
better to hold fulness in place with several rows 
rather than one, as putting fulness in at the 
shoulder, or at the waist, etc. The stitches should be 
uniform in size, but do not need to lie one directly 
under the other as in gauging, which is used where 



[ 3 ] 





















LESSON ONE 


there is a great quantity of material to be put into 
a smaller space (Fig. 5). 

Stitching: This stitch should be used where 
there is need of strength, as in seams, sewing tapes, 
bands, pockets, cuffs, and so on. It is made as fol¬ 
lows: Begin with a few small running stitches 
back from the end and working from left to right. 
Turn the work and take one stitch back toward the 
end of the seam, and pass the needle over twice 
as much cloth on the wrong side as on the right; 
bring the needle through the cloth at this point and 
put it in again at the end of the stitch just made; 
then through to the wrong side and repeat. The 
appearance on the right side is like a succession of 
small stitches just meeting each other; on the wrong 
side It looks like a series of stitches overlapping 
each other (Figs. 6 and 7). 

Combination Stitch : This is a form of stitch¬ 
ing which Is used where great strength Is not re¬ 
quired; It can be more quickly done than stitching. 
It can be used on plain seams, French seams or on 
fells. The work Is begun the same as stitching 
and then take two running stitches, bringing the 
needle to the right side of the cloth as If to take 
another, but instead put the needle back Into the 
last running stitch, and through to the wrong side; 
pass under the last stitch on the wrong side, and up 
through the same hole through which It passed 
last; take two running stitches and repeat. The 
stitch will appear on the right and wrong sides as 
shown In (Figs. 8 and 9). 

[ 4 ] 







LESSON ONE 


Overhanding : This stitch is used to make a 
strong, flat, invisible seam on the undergarments, 
bed-linen, sewing on lace, putting hems in napkins 
and table-cloths, and also in patching. It can be 
used where there are selvedges or raw edges. When 
made where edges are raw, turn back the edges 
and crease; baste so that the folded edges come 
together; hold the seam between the first finger and 
thumb, the latter being used to keep the edge of 
the seam against the cushion of the first finger; the 
second finger can be used to steady the material. 
Pass the needle through the folded edges of the 
seam and leave an end of the thread to be sewed 
over. Sew over the twoi thicknesses of cloth, tak¬ 
ing stitches that are not deep, and have needle point 




[ 5 ] 



































LESSON ONE 


toward the chest as it is drawn through the cloth. 
The thread can be joined the same as beginning 
anew, having two ends to sew over instead of one. 
Do not draw stitches tight. The stitch appears 
slanting on the wrong side, but is straight on the 
right. Fasten by turning and going over a few 
stitches (Fig. lo). 

Overcasting is used to keep the edges of seams 
from fraying out and either looking badly or pull¬ 
ing out. It is a slanting stitch taken over one or two 
thicknesses of a seam. The stitch should be loose 
and taken about one-eighth inch deep and the same 
distance apart. Hold the cloth over the first finger 
of the left hand; use the second finger to guide it 
through, and use the thumb to keep it in position. 
Conceal the knot between the two thicknesses of 
cloth or beneath the single thickness. Fasten with 
two small stitches on under side (Fig. 11). 

Hemming Stitch : This stitch is used to finish 
the turned edges of garments or their parts. The 
edges of hems should be carefully trimmed, the 
first turn quite narrow, one-eighth to one-quarter 
inch according to the depth of the hem. The sec¬ 
ond turn should be made by the use of a marker 
cut from cardboard, for measuring. The hem 
should then be basted (Fig. 12). 

To make stitch, pass needle from left to right, 
so as to conceal the end of thread under fold of 
cloth; turn needle and take up some threads of the 
cloth of the garment and moving needle forward 
to the left, take up some threads of the fold. Re- 

[ 6 ] 





LESSON ONE 


peat. Hold work over the first finger of the left 
hand; use second finger to guide work. Stitches 
will be found to slant on both the right and wrong 
sides. Joining thread: Let the end of the old 
thread come out from cloth and the end of the new 
from fold, and then tuck both ends under the fold 
and hem over them (Fig. 12). 



Fig. 10 Overhanding Fig. 11 Overcasting 



Blind Hemming: This form of hemming is 
used where it will not do to have the stitches show 
on the right side of a garment. Take up only 
enough of the threads of the cloth not to show 
through, then pass needle through fold. The stitch 
should be longer than in plain hemming (Fig.^ 13). 

Slip-Stitching: This is used where it is de- 


[ 7 ] 

























LESSON ONE 


sirable to have an entirely invisible finish on hems, 
folds, bands and so on. It is not as strong as blind 
hemming. Use a knot. Take a very small stitch 
on the under fold of the hem and passing the needle 
straight forward take a stitch in the cloth, not 
through to the right side. This stitch is really 
a running stitch (Fig. 14). 

Catch-Stitch: Used to finish the unturned 
edges of garments or their parts. It is frequently 
used over the pinked edges of hems and for flannel 
seams. 

The edge of the hem will give one line to guide 
in working the stitch, and the other must be visual¬ 
ized. Work from left to right. Pass the needle 
out at the lower left hand end of the hem and carry 
the thread in a slanting direction to the right and 
take a stitch from right to left as far above the edge 
of the hem as will make a good finish;,then take a 
stitch at the edge of the hem that will give the 
proper slant. Repeat until completed (Fig. 15). 

Whipping: Where the edge of a ruffle is rolled 
as shown in (Fig. 16) a plain hemming stitch would 
be used to hem the ruffle. The wrong side of the 
material should be held toward you, and the edge 
rolled between the thumb and first finger of the left 
hand, rolling only a little at a time and proceeding 
with the hemming as the rolling is done. If lace is 
to be whipped to a ruffle or garment, an overcasting 
stitch may be used (Fig. 16). 

Blanket-Stitch : This stitch is used to make 
loops for fastening parts of dresses together, for 

[ 8 ] 







LESSON ONE 


dressmakers’ tacks, and finishing the ends of belts. 
In making work from left to right; bring the needle 
up from the under side of the cloth about an eighth 
of an inch from the edge; pass the needle again 
down through the cloth above the edge and in draw¬ 
ing the thread let it pass under the needle thus 
forming a loop (Fig. 17). 

Buttonhole-Stitch: Many people confuse 
the buttonhole stitch with the blanket stitch. The 
buttonhole stitch is more strongly locked and has a 
firm, strong, hard edge. It is worked from right to 
left with the edge of the cloth away from you, and 
each time the needle passes through the cloth, the 
double strand of thread from the eye of the needle is 
passed around the point and the needle drawn 
straight up over the edge thus forming a purled 
edge, as it is called (Fig. 18). 



[91 












Lesson Two 


Paper Patterns—How to Use, Test, and 
Alter Them So They Will Fit In- 
dividual Requirements 

T here are so many well-designed paper pat¬ 
terns on the market today, that the problem of 
the home dressmaker is easy of solution, but many 
of us need to know how to buy and use these pat¬ 
terns successfully. 

First of all, a pattern must be chosen which will 
carry out the design of the garment we have in 
mind, and be suitable for the kind of material of 
which the garment will be made. For instance, a 
pattern that is of a design suitable for plain mate¬ 
rial may not make up equally well in a plaid or 
striped material, and dissatisfaction may result. 

It is far better to buy skirt patterns according 
to the hip measure, as it is easier to alter a pattern 
at the waist than at the hip, in case one’s waist and 
hip measure should not coincide with the average 
size on which the pattern is based. 

It will be necessary, in order to use commercial 
patterns intelligently, to study both diagrams and 
printed instruction very carefully. The diagrams 
will show the various parts of the pattern in their 
relation to each other, and also a plan for placing 
the pattern on the material economically. The 
printed instructions will tell what amount of seam 
allowance has been provided for, and interpret the 
perforations and notches for the user. They will 

[ 10 ] 



LESSON TWO 


also give some general directions for the construc¬ 
tion of the garment. 

The perforations are used to indicate how to lay 
the pieces of the pattern on the material with re¬ 
gard to its grain (the lengthwise or crosswise 
threads), the seam allowance, and points at which 
trimming and pockets are to be placed. A line 
of single perforations will usually indicate the sew¬ 
ing line of the seam ; a line of double perforations 
usually shows the placing of the pattern on a length¬ 
wise thread of the material, while a group of triple 
perforations means the placing of that edge of the 
pattern on a lengthwise or crosswise fold of the 
material. Notches indicate the method of joining 
parts; corresponding notches should be put to¬ 
gether. In the previous lesson, the method of tak¬ 
ing individual measurements was considered. All 



Fig. 1 


Fig. 1 illustrates 
method of cor¬ 
recting pattern if 
too narrow in 
front and back. 



Fig. 2 
[ 11 ] 


Fig. 2 illustrates 
method of cor¬ 
recting pattern if 
too large in front 
and back. 

























LESSON TWO 


these measures will not be needed in testing every 
pattern. Women are prone to overdo the testing 
as well as width of the back and chest, the length 
of the entire pattern if it be a one-piece dress, and 
the length and width of the sleeves. If the garment 
is of the middy type, in order to measure the length 
of the sleeve, lay the front and back of the pattern 
together so that the sewing line at the armhole of 
the garment and sleeve meet, then measure from the 
sewing line at the bottom of the sleeve (Fig. 5). 
Keep within the sewing line for all measurements. 

Should the pattern be too narrow in the front 
and back, this may be corrected by slashing through 
the pattern and separating the parts enough to give 
the desired width (Fig. i). Remember that the 
pattern represents one-half of the garment, so that 
if the width needs to be increased one inch, the parts 
should be separated but one-quarter inch on front 
and back. If the pattern is too wide in the front 
and back, this may be corrected by folding a tuck 
(Fig. 2) in the same manner that the slash was 
made to increase the size. Should the front and 
back be correct, and the bust too small, then slash 



Fig. 3 Increasing length and Fig. 4 Decreasing length and 
width of sleeve pattern. width of sleeve pQttcrn. 


[ 12 ] 
















LESSON TWO 


the front as shown in the illustration (Fig. i) al¬ 
most to the armhole, and spring it apart until the 
desired width at the bust is secured. The same 
principle will apply to the increase of the length 
and width of the sleeve (Fig. 3). To decrease 
the size of the sleeve, a tuck may be laid in the 
pattern either lengthwise, crosswise, or both, if 
necessary (Fig. 4). 



Fig. 5 Measuring sleeve 


in middy type dress. 


Skirt patterns may be altered after the same 
fashion (Fig. 6). Should the skirt be close fitting 
and the waist measure too small, this can be cor¬ 
rected as indicated by the dotted line in the illus¬ 
tration without increasing the hip measure. 

Remember the caution about over-testing pat¬ 
terns. We should never test and alter to the point 
of meddling with the pattern-maker’s lines, at least 
not until we have cut the pattern in material and 
fitted it, and proved the lines not good. The chief 
fault with' the commercial pattern is usually its 


[ 13 ] 





LESSON TWO 


extreme length of shoulder, but this is not a real 
fault because the pattern-maker must take into ac¬ 
count the woman with broad shoulders, and for the 
slighter woman the change may be made at the 
armhole by trimming pattern. 

How to Place the Pattern for Cutting 

Follow the directions given for placing the pat¬ 
tern on the material, but do not cut the material 
until the entire pattern is pinned in place. The 
material is one of the chief factors—that is, whether 
it has an “up or down” to it. A “napped” surface 
like that of broadcloth, or a figured design which 
distinctly repeats its pattern all one way of the 
cloth, will necessitate the placing of the lower edges 
of all parts of the pattern the “down way” of the 
cloth even though this will result in more or less 
waste, and apparent extravagance. 

When the pattern has been placed satisfactorily, 
pin it to cloth, with just enough pins to hold it 
smoothly. Then cut carefully around the outside 
edges of the pattern, and mark all seams and 
notches. Ne^er cut notches; mark them. 



Fig. 6 Altering skirt pattern. 

[ 14 ] 


















Lesson Three 


Fine Lingerie of Simple Design 

S OME delightful bits of pick-up work, upon 
which one may put many stitches while at a 
porch party, an informal luncheon, or when listen¬ 
ing to some one read aloud, are to be found in the 
dainty undergarments shown in this lesson. These 
comprise two sets—one a step-in chemise and 
nightgown; the other, a vest with step-in drawers, 
and a slip. 

The nightgown and chemise may be made of 
either cotton or silk material. The best cottons 
to use are batiste and fine nainsook. Radium silk 
or crepe de Chine is preferable of the silk materials. 
Crepe de Chine is very durable and launders well, 
if carefully handled. Filet lace edge and medal¬ 
lions are used for trimming on this set. A narrow 
edge should be used for the lower part of the 
chemise, and a wide edge for the top. Wash ribbon 
in a delicate color is used for the shoulder-straps of 
the chemise. 

The vest and drawers may also be made of cotton 
or silk. The materials suggested for the night¬ 
gown and chemise are suitable for these garments, 
or China silk may be used for summer wear. The 
trimming bands may be of contrasting color to that 
of the garments, and the flower design in applique 
should harmonize with the whole color scheme. 
When silk is used, the bands may be of soft, plain 
colors, while on cotton garments, charming effects 
may be produced by using dainty, little, checked 

[ 15 ] 



LESSON THREE 


ginghams for both the bands and applique flowers, 
the stems and leaves being made in green chambray. 

A slip may be made of crepe de Crine, pussy¬ 
willow, or radium silk. Of these, crepe de Chine 
and pussy-willow wear the better. Lace edging 
may be used to trim the slip, or a most attractive 
mode of decoration is a deep hem at the top, fin¬ 
ished with hand-hemstitching, and perhaps a design 
in hemstitching in the front, just below the hem. 
When planning a slip to ‘wear under sheer gar¬ 
ments, one should avoid over-decoration which 
might detract from the beauty of the outer garment. 

Making the chemise: Sew the tucks at the top 
with a fine running stitch; they should then be 
pressed in all the way to the bottom of the garment. 
Make narrow French seams under the arms. Baste 
the lace to the right side of the chemise on the line 
indicated on the pattern, and sew it with a running 
stitch and fine thread. Turn to the wrong side of 
the garment, trim the edge away, and whip it to 
the row of sewing, as described in the June Dress¬ 
making Lesson. The lace medallions may be sewed 
on in the same way. 

In making the nightgown, French seams or 
stitched fells should be used. The lace edging and 
medallions may be applied as on the chemise. The 
two eyelets, through which the ribbon is passed in 
the front of the gown, should be cut and the edges 
worked with an over-hand stitch, as shown in Fig. 
4. The lower edge of the gown should have a 
two or three-inch hem, put in preferably by hand. 

[ 16 ] 






I 

LESSON THREE 



In making the vest and step-in drawers, use 
either narrow French seams or stitched fells. The 
applique flowers may be cut from the pattern given, 
or designs may be developed according to individual 
liking. The detail of the corner design illustrated 
is shown in Fig. i, and the following method is 
suggested for a harmonizing color scheme: the 
flowers to match or harmonize with the trimming 
bands, the leaves and stem of green, and the center 
of the flowers of yellow-orange in either outline or 

[ 17 ] 
















LESSON THREE 



running stitch. The method of applying the 
flowers is as follows: after cutting the pieces ac¬ 
cording to the pattern or some other idea, the edges 
of the flowers and stem should be turned in and 
basted or pressed. The leaves, which are cut in a tri¬ 
angular shape, should be made in the manner illus¬ 
trated in (Fig. 3), “a” representing the first fold, 
“b” the second, and “c” showing the gathering at 
the base of the leaf. The applique pieces may next 
be pinned or basted to the garment, and the edges 
slip-stitched to it (Fig. 2). The center of the 
flowers may be worked in last. 

Making a slip: If a hem is to be used to finish 
the top, allowance must be made, as the pattern is 
cut for lace. Allowance would also need to be 
made for a deep shadow-proof hem. Gather the 
fulness at the dart into the plain part, making the 
seam on the wrong side (Fig. 5). Baste the tucks 


[ 18 ] 










LESSON THREE 


at the top of the front. Baste the under-arm seams 
(right side out), pin up the hem, pin the straps in 
place and try the slip on. French seams should be 
used, if the slip is to be worn with sheer garments, 
otherwise use stitched fells. The darts should be 
bound with a narrow, bias strip of the material of 
which the gown is made (Fig. 6). If lace is used 
as a decoration, it should be sewed to the top, as on 
the nightgown and chemise. 


rig. 2 



Patterns for nightgown pictured and for a slip in 
sizes 34 to 40, 30 cents apiece; step-in chemise, 34 
to 40, 25 cents; vest and step-in drawers, 34 to 40, 
30 cents for the two. Send stamps, check or money 
order to Good Housekeeping Pattern Service. 

[ 19 ] 





































I 



A-6 A-7 A-8 


Lesson Four 


Childrens Clothes 

F ive attractive designs are shown in this lesson, 
from which to choose a frock for the little 
girl or her older sister. Indeed, one can use any 
one of the designs as the basis for a number of 
frocks, as each one admits of such variety of treat¬ 
ment that there need be no sense of similarity. You 
will find them all quite simple to make. 

The two designs shown in checks may be made 
of gingham, chambray, linen, dimity, dotted swiss, 
or heavier materials, such as kindergarten cloth or 

[ 20 ] 







LESSON FOUR 


poplin. Checked materials are most attractive for 
children, especially in some of the new linens, and 
with them may be combined plain material of the 
color which predominates in the check. In some 
cases white will make the best combination, as in 
the little dress with the vest and collar, which is 
designed to use white organdy. If the other 
checked frock is carried out in brown-and-white 
checked linen, the box-plait down the front, the 
sleeves, collar, and pocket flap may be either of 
white or brown to match the brown in the check. 

The little two-piece frock in the center may be 
made of gray-blue, light-weight jersey, or albatross, 
with red buttons and red belt. This would be a 
very “comfy” garment for the cool days of spring 
or summer. Medium heavy cotton or linen mate¬ 
rials are also very suitable for this type of garment. 

There are several new, interesting points in con¬ 
struction in these three little frocks. In the first 
place, there are three types of sleeves, plain set-in, 
raglan, and kimono and raglan combination. Then 
there is an applied box-plait on the front of one 
frock, and a new kind of pocket flap to learn about, 
while in another a vest and collar are the decora¬ 
tive notes. To provide for the vest the front is 
cut away, which allows for the arrangement of a 
few gathers at the lower edge of the simulated 
yoke. 

Before making the dresses, pin together the 
parts of the patterns and try them on to get an idea 
of the length and width of the various sections, the 

[ 21 ] 





LESSON FO UR 


trend of line, and the general effect of the design. 
In the frock with the box-plait and buttons in front, 
do not cut the slit for the pocket; simply mark it 
with a thread. Place the long way of the box-plait, 
pocket flap, center-front of the frock, and center 
of the length of the sleeve and cuff on a lengthwise 
thread of the goods; the center-back of the frock 
and collar on a lengthwise fold. 

In cutting out the frock with the vest and collar, 
place the center-front, center-back of dress, and cen¬ 
ter of collar on a lengthwise fold of the goods, and 
the long way of the facing and tucked piece on a 


Jan. 1 




Jan. 2 


[ 22 ] 











LESSON FO UR 


lengthwise thread. If a tucked vest is desired, the 
tucks should be made before cutting. 

For the two-piece frock, place the center-back 
and center-front of the blouse, skirt, and lining on 
a lengthwise fold, and the sleeve so that the line 
marked “straight of goods” is on a lengthwise 
thread. If a belt of the material is used, it should 
be cut lengthwise of the material. 

If French seams are to be used, baste seams on 
the right side. Plain, overcast seams may be used 
on the woolen materials, as they avoid bulkiness, in 
which case baste seams on the wrong side. Assem¬ 
ble all parts of the garment for basting and then 
fitting. One thickness for the collar and cuffs is 





— H 

c 

/ 

-k- 










ii 




(h 



: 


Fig. 1 illustrqtes 
finishing b 0 \x 
plait, wrong 
side; Fig. 2, box 
plait, right side. 


Fig. 1 




+ 

H 














1 



1 

1 


Fig. 3 




Fig. 4 



Fig. 2 



Fig. 5 


Fig. 3 illustrates position of pocket flap when bast¬ 
ing it to right side; Fig. 4 basting pocket to right 
side; Fig. 5 sewing bocket to upper edge of slash. 


[ 23 ] 



























































































































LESSON FO UR 


all that is necessary. Be sure to have the notches 
meet and baste the seams as deep as indicated. The 
skirt of the two-piece frock should be basted to the 
lining for fitting. 

Try the garments on, and be careful not to fit 
too' closely; it is far better to keep to good lines in 
the pattern and allow for the child’s freedom of 
movement. Adjust the length of skirts and sleeves; 
see that vest and collars set smoothly; note the posi¬ 
tion of the pocket and raise or lower if necessary. 

Frock with Box-Plait: First stitch the box- 
plait to the right-hand side of the front; turn in 
the other edge and hem to the machine stitching 
(Fig. i), then fold the box-plait to place and baste 
to keep in shape while working on the rest of the 
garment (Fig. 2). Face the left-hand side of the 
front (using a narrow, straight facing) six inches 
from the top. Let the facing extend beyond the 
edge of the front one-half inch. Seam the re¬ 
mainder of the front to the box-plait. 

Pockets: Stitch, turn, and press the flap; cut 
slit for pocket; baste the raw edge of the flap to 
right side of frock, at lower edge of the slit, having 
the finished edge toward the lower part of the 
frock (Fig. 3). Then baste one edge of the 



[ 24 ] 




















































LESSON FO UR 


pocket to the right side of garment, on top of the 
flap (Fig. 4) ; stitch and turn through to the wrong 
side of the garment; baste firmly at edge. Baste 
and stitch pocket to the upper edge of the slit, 
working from the wrong side; baste this edge firm¬ 
ly and stitch (Figs. 5 and 6) ; then press carefully, 
shrinking out any fulness at the corners. Stitch 
and overcast sides of pocket. Lay flap in upstand¬ 
ing position and slip-stitch to garment (Fig. 7). 

Stitch the sleeves in place, then the underarm 
and sleeve seams. Stitch, turn and press the collar 
and cuffs; stitch one edge of the collar to the right 
side of the dress and hem the other edge to the 
stitching; turn in the top edges of the box-plait 
which extend beyond the center front, and over¬ 
hand them together. Sew the cuffs to the sleeves 
in the same manner as the collar was attached. Sew 
the buttons to the box-plait and snap fasteners to 
the under side to fasten it. Put the hem in by hand. 

Frock with Vest and Collar: Tuck the 
vest before cutting it. A band of material may be 
fagotted to the top of the vest to add to its attrac¬ 
tiveness, and rows of stitchery may be applied 
across the tucks, on the lower edge of the collar 
and at the top of the facing on the sleeves. Gather 
the fulness on the front to the slash intended for 
it; stitch and bind the edges. Stitch the back to 
the front as notched, noting the raglan line in the 
back. 

Stitch, turn, and press the collar; baste the col¬ 
lar to the neck of the dress, holding collar on the 

[ 25 ] 





LESSON FOUR 


right side; then baste the vest across the bottom of 
the opening and up the right-hand side, leaving the 
left-hand side open for slipping the dress on and 
off. Baste a bias facing on the edge of vest and 
collar; stitch in place. Turn and hem the facing 
to the frock. Stitch the underarm seam and put 
hem in by hand. Buttons may be sewed down the 
front as shown in the illustrations. 

Two-piece Frock: Stitch the seams of the lin¬ 
ing and skirt. Baste and press plait in place in 
skirt, then sew skirt to lining and finish edge by 
overcasting or with a facing. 

Baste the tucks in the front of the waist at the 
shoulder seams; stitch, press and finish. Baste and 
stitch the dart in the back of the sleeves, and the 
sleeves in place; bind or overcast the edges. Stitch 
and finish the underarm and sleeve seams. Face 
the neck and the lower edges of the sleeves. Use a 
bias facing for both. Hem the bottom of the 
blouse, being careful that the stitches do not show 
on the right side. Sew the buttons, as indicated in 
the sketch, on the sleeves, the lower part of the 
blouse, and the shoulder seams. It is well to make 
straps of the material to put on the underarm 
seams, through which to pass the belt in order to 
keep it from slipping down. 

Clothing for boys is as interesting, and no more 
difficult to design and construct, than clothing for 
girls, if one provides a good pattern and follows 
carefully a few simple directions. Simplicity of 
design, and suitability of design and material to the 

[ 26 ] 











LESSON FOUR 


use of the garment as well as to the age and per¬ 
sonality of the boy, plus good workmanship, are the 
keynotes of success. 

The suit on page 22, which has a new Russian 
blouse, might be worn by a boy from two to six 
years, but in using this suit for the tiny boy of two, 
it will look better if the belt is omitted. 

Cotton and linen are the materials chiefly used 
for the small boy’s suits, although sometimes wool 
is used—more often, however, for trousers, with 
which a cotton blouse may be worn. Linen, how¬ 
ever, musses quite easily and requires frequent 
laundering and pressing, so this quality must be 
taken into consideration when selecting materials. 
Of the woolen materials, serge is the most suitable 
and durable. 

Another point to remember is that colored ma¬ 
terials show soil less quickly than white, while on 
the other hand, all colored materials are not fast 



[ 27 ] 

































LESSON FO UR 


Children love color, and it seems that we should 
not lose the opportunity, through an over-practical 
sense, of providing them with some color at least 
in the wardrobe. The dark-eyed child with very 
dark hair will look well in yellow; for the boy with 
brown hair and blue eyes the grayish blues or some 
shades of brown may give you a pleasing choice. 

When making the suit, measure the parts of the 
pattern and compare them with the measurement 
of parts of a worn suit, so as to be sure the pattern 
is the correct size. If the pattern allows only half¬ 
inch seams, be sure to allow an additional eighth 
of an inch. This same procedure should be fol¬ 
lowed when making the coat. 

Place the parts of the pattern so that the grain 
of the material is correct; cut around the outside 
of the pattern, being sure the seams are five-eighths 
of an inch wide. Sewing lines in cotton and linen 
may be marked with a tracing wheel; in woolen 
material, with tailor basting. 

All seams of the trousers and blouse should be 
turned to the right side of the garment for basting. 
The order of basting is as follows: first, the 
shoulder seams, sleeve to place, then underarm and 
sleeve seam in one; then the inside leg seam of 
trousers, and the body seam; then the outside leg 
seam as far as the bottom of the placket. 

Try on both trousers and blouse. Note the loca¬ 
tion of shoulder and underarm seam, width across 
back, length, and waist. If the trousers are too 
long, shorten either at the lower part of the leg or 

[ 28 ] 










LESSON FO UR 


at the top, being careful to have enough fulness in 
the body part to allow freedom of movement, yet 
not enough to make the garment look home-made. 
If the blouse is too broad across the back, remove 
the sleeve and repin so as to bring it into correct 
position at the armhole. 

All seams are to be finished with a stitched fell. 
Be careful to place first stitching so that the upper 
stitch will be on top when the seam is finished. The 
side seam of the trousers must he turned toward 
the hack, to provide for the placket finish. Carry 
the first stitching of this seam only as far as the 
lower edge of the placket, and do not stitch the 
second time until the placket facing and pocket 
are completed. You will surely wish to put pockets 
in this little suit, for the joy they will give the boy, 
even if you do find a motley collection within their 
tiny depths later on. 

You will find the pattern has allowed two exten¬ 
sions on the side seams of the trouser legs, the one 
on the front to be turned back as a hem and the 
one on the back to be faced as an extension. 

Fold over the extension on the front, so that the 
folded edge is on a line with the outer edge of the 
leg seam; crease the fold, slip the edge of the 
pocket in the crease of this fold, and baste, then 
turn in the outer edge of the hem, baste and stitch 
to the pocket; stitch the facing and hem to the 
pocket and outer edge of the placket, continuing 
along the outer edge of the leg seam (see Fig. 11). 
Fold the pocket through the center, lengthwise, 

[ 29 ] 






LESSON FO UR 


stitch across the lower edge, and overcast (Fig. 12). 
Face the extension on the other edge of the placket. 
Stitch a facing to the top of the trousers, turn and 
stitch lower edge, catching the top of the pocket 
under the facing as shown in Fig. 12. 

Work buttonholes perpendicularly at the ends of 
the side seam and in center back and front of 
trousers. The completed placket and position of 
the buttonholes are shown in Fig. 13. Face the 
lower edges of the trousers to hold the elastic that 
is needed to draw them in at the knee. 

The slash in the front of the blouse may be fin¬ 
ished with a bias binding; the collar made double 
with the outer side stitched first to the blouse and 
the inner side hemmed to the stitching. Place the 
cuffs in the same way. 

The soft-faced woolen materials like beaver, 
close-cut velours, serge or cheviot may be used for 
the little coat, cut in sizes two to eight years. Buy 
the quantity of cloth and lining and the number of 
buttons which the pattern gives. Be sure either to 
sponge the cloth or to have it sponged. 

The coat has a raglan sleeve which should be 
basted in before closing the underarm and sleeve 
seam. Follow the notches for placing it. 

Stitch the seams, press open, and bind with bias 
taffeta, satin or sateen binding if the coat is to be 
unlined. If lined, stitch, pink, and press the seams. 

Baste a piece of soft, unbleached muslin, the size 
of the cloth facing, to the wrong side of the coat. 
Baste the facing to the right side, stitch, press and 

[ 30 ] 





LESSON FO UR 


turn, trimming the corner diagonally to avoid thick¬ 
ness. Stitch the facing across neck only as far as 
the collar comes. Make the collar and stitch the 
wrong side to the neck of the coat and turn in the 
top edge and hem as far as to the facing; then turn 
the edges of the collar and facing under and slip- 
stitch together. The lining must slip under the 
collar before hemming it down. The cuffs should 
be placed and finished like the collar. 

Cut the pocket lining one-quarter inch smaller 
than the pocket on sides and across the bottom, and 
one inch shorter at the top. Turn raw edge of 
pocket over the lining at the sides and bottom and 
catch-stitch to the lining (Fig. 8). Turn the top 
edge in and hem in lining (Fig. 9). Use two rows 
of stitching on the edge of the pocket, the inner 
stitching so placed as to conceal the raw edge of 
the cloth inside the pocket (Fig. 10). 

The lining should be a bit looser than the out¬ 
side to allow for stretch when putting the coat on. 
Line the sleeves first and do not tack lining close 
to the top of the seams. Baste the two parts of 
the lining to the coat and tack the back lining, hold¬ 
ing it easily, to the shoulder and underarm seams. 
Sew the buttons on before facing, putting a stay 
piece back of them. 

Patterns for the two checked frocks, in siaes 4 to 
8 years, and for the two-piece frock in sizes 6 to 
10 years, may be purchased for 30 cents each. Pat¬ 
terns for the hoy's suit in sizes 2 to 6 years and for 
the coat in sizes 2 to S years, also 30 cents each. 

Send stamps, check or money order to Good 
Housekeeping Pattern Service. 

[ 31 ] 






































Lesson Five 


How to Make a Smart Maternity 
Frock 



^HIS lesson describes the making of a smart, 


X yet comfortable, maternity dress. The lines 
of the design, as shown in the sketch, are very 
adaptable to a dress of this kind, and there are 
various ways in which the design may be carried 
out, each of which would make its appeal for prac¬ 
ticability, attractiveness, and suitability to par¬ 
ticular occasions. 

The choice of materials of which the dress 
should be made is, of course, of primary impor¬ 
tance. One must choose soft, pliable materials, 
yet those of a kind that will lend themselves to 
folds or plaits. Fortunately there are both silk 
and woolen materials which are suitable for this 
particular design, therefore one may be warmly 
or coolly clad, whichever the season may demand. 

Of the silk materials, crepe de Chine and Roma 
crepe suggest themselves for warm days, and Can¬ 
ton crepe, satin Canton, and dull-finished crepe 
meteor for cooler days. Wool batiste, challis, and 
nun’s veiling would be suitable woolens from which 
to select. Challis, which is quite a close weave, is 
very warm, but light in weight, and may he had in 
plain colors. Wool batiste and nun’s veiling are 
more open weaves and a little lighter in weight 
than challis. All three fabrics press well, there¬ 
fore would hold their plaits indefinitely. Another 


[ 33 ] 



LESSON FIFE 


infinite advantage is that they may be cleaned with 
complete satisfaction. 

A combination of materials might also be, attrac¬ 
tive in this dress, especially for afternoon or eve¬ 
ning wear. For instance, the body of the dress 
might be made of silk and the plaiting and sleeves 
of crepe Georgette, chiffon, chiffon cloth, or mar¬ 
quisette. Or the dress might be made entirely of 
crepe Georgette if one intended to wear it only for 
social affairs. 

The girdle may be made of the material of the 
dress, or of soft silk in the same color. A girdle 
of the material would be more generally preferred, 
except in the woolens, because it would make no 
noticeable break at the waist-line. The edges of 
the girdle should have a picot finish. For the wool 
dress, it would be better to use a narrow, or string, 
girdle of the material, or silk of the color of the 
dress if a draped girdle is desired. 

The bateau (or boat) neck-line is becoming to 
most women. It may be finished with a simple 
binding, or for general wear, with a finely plaited 
collar of crepe Georgette or chiffon cloth of 
creamy white or ecru color. Sometim.es it is well 
to introduce a line of stitching in color above the 
edge of these little collars to break the strong line 
of contrast. 

The tiny vestee may or may not be used, accord¬ 
ing to whether or not a silk slip or lining of the 
color of the dress is worn. The plaited panels 
should be finished with a picot or a bound edge. 


[ 34 ] 







LESSON FIVE 



The pattern for this dress is cut in twelve pieces, 
as follows: two waist sections; two sleeves; two 
skirt sections; a vest; a girdle; two strips for 

plaited panels for waist and skirt (front and 

back), a plaited collar, and band for elastic. 

The front waist section has a dart which takes 
care of some of the extra fulness thrown in to allow 
for the development of the figure. The front skirt 
section is wider than the waist section after the dart 
is taken up, but this extra fulness may be adjusted 
at the hip and under the plaited panels, to be let 
out when it becomes necessary to open the dart in 
the waist. The front skirt section also has an ex¬ 
tension at the top, which can be let down when 

necessary to adjust to the figure. A waist lining 

may be cut from the waist pattern and finished 
with a bodice top on the line indicated in the pat- 

[ 35 ] 



















LESSON FIVE 


tern. If desired, a skirt lining may be added to the 
waist lining to make a slip. In this case, join the 
two sections as the waist and skirt of the dress are 
joined, using elastic. 

Place the parts of the pattern on the material 
with regard to the directions stamped thereon; the 
center front and center back of both waist and 
skirt section on a lengthwise fold of the goods; 
and the center line of the sleeve on a lengthwise 
thread of the goods. 

As far as possible, cut the strips for the plaited 
panels in one piece, and run a line of basting where 
you would cut It. Have the strips hemstitched on 
this line, and then cut through the hemstitching to 
get the picot edge; this saves expense in hemstitch¬ 
ing. Also have the outer edge hemstitched for 
picot. 

Mark all notches, seams, and points for attach¬ 
ing the plaited panels. Pin and baste the darts of 
the waist and skirt together, matching notches, and 
remember to place the sleeve in the armhole after 
basting the shoulder seam and before basting the 
underarm and sleeve seams. 

Gather the skirt on the line marked “waistline,” 
turn in the lower edge of the waist, and adjust the 
fulness of the skirt to the lower part of the waist, 
so that the greater amount of fulness will be drawn 
under the panels and over the hips. 

If a lining Is used, fit it before the dress is fitted, 
following the directions for fitting the dress as far 
as they apply to the lining. 

[ 36 ] 







LESSON FIVE 


Slip the dress on the figure; look it over care¬ 
fully. Make any necessary change in the position 
of the shoulder, under-arm, or skirt seams. Change 
the neck-line if necessary. 

Adjust the length of the sleeve and skirt and 
note the position marked for the plaited panels. 
Try the girdle to see that it is of correct length and 
width. It should fold over at the hips, not tie. 
The ends should come well down the length of the 
skirt. Remove the dress, make alterations; rip 
corresponding seams and repeat the altering on 



The plaited collar may he 
trimmed with rows of 
stitching. Heavy thread 
in bobbin and fine on top 
gives the effect shown in 
upper sketch. Lower 
sketch shows stitching 
done on a one-thread 
machine. 



The sketch above shows 
how the skirt and waist 
are joined and the plac¬ 
ing of a casing for the 
elastic. By following this 
method, the skirt may 
easily be adjusted when 
more length is needed. 


[ 37 ] 
























LESSON FIVE 


opposite side. Mark skirt and sleeve lengths, and 
line for neck finish. 

Have strips for panels hemstitched and then 
plaited—fine knife plaiting which can be done by 
any of the small shops or by a department store. 
Be sure to caution the worker to have the plaits in 
the two panels fold either toward or away from 
each other, for if they are all turned one way, the 
effect is a bit grotesque. These can be plaited while 
other work is being done on the dress. Stitch the 
darts; then join the waist at the shoulder; stitch 
the sleeves in place. Stitch the waist and skirt sec¬ 
tions together, then the sleeve and underarm seams. 
Then stitch the casing for the elastic over the seam 
joining the waist and skirt. 

The lower edge of the skirt may have a hem of 
either four or five inches, blind-hemmed or fin¬ 
ished with a bias binding. The edges of the panels 
should have a picot edge. They might be bound, 
but this is rather too heavy a finish. 


Patterns for the dress may be ordered in sizes 34 
to 40 at 60 cents each. Send stamps, check or money 
order to Good Housekeeping Pattern Service. 


[ 38 ] 






Lesson Six 


Patterns of Simple Design for Baby’s 


First Clothes 


LL clothes for the baby should be simple in 



design and not difficult ot construction. The 
chief points to consider in the choice of design and 
material are—the comfort of the little one, ease 
of adjustment, ease of laundering, and the appear¬ 
ance after laundering. There should be as few 
seams as possible and the closings so planned that 
fastenings can easily be handled. Bobbin tape, 
washable ribbons, small flat buttons, and snaps 
may be used for fastenings. Materials should be 
most carefully selected and only those which are 
soft, warm, light in weight, and washable should 
be used. No garment should in any way hamper 
the free movement of the little one’s limbs, or pre¬ 
vent the circulation of air, but two or three thick¬ 
nesses of light-weight clothing are warmer than 
one heavy garment, because still air, held between 
layers of clothing, acts as a non-conductor of heat 
from the body. 

These little garments, the making of which this 
lesson explains, are a Gertrude or petticoat, a 
wrapper, a simple little dress or slip on kimono 
lines, and a more elaborate dress with set-in sleeves 
and a bit of trimming. The Gertrude and slip are 
not illustrated. The advantage of a kimono gar¬ 
ment is chiefly that it will iron easily and quickly, 
because it can be laid out flat. It does, however, 
bring more fulness of material about the upper part 


[ 39 ] 



LESSON SIX 


of the body than the dress with the set-in sleeves, 
where the fulness at the neck is taken up in tiny 
tucks. 

Fine nainsook or batiste may be used for the 
dresses, and nainsook is also excellent for the 
baby’s night slips. Albatross or flannel is suitable 
for the little wrappers. Albatross is light, and 
warm, launders well, and can be had in attractive 
colors. The Gertrudes are made of flannel or nain¬ 
sook. There are several kinds of flannel from 
which to choose. Some flannels are made entirely 
of wool; these are very warm and durable; they 
require great care in laundering to prevent them 
from shrinking greatly or becoming hard. The 
others are made of part cotton and wool; these do 
not shrink as easily in washing. A fine flannel, but 
quite expensive, is made of silk and wool; this is 
beautiful in texture, but must be handled most care¬ 
fully when laundered. Viyella flannel is a non- 
shrinkable flannel, which can now be had in white 
as well as colors. 

Only very fine, narrow lace edging should be put 
on baby’s dresses, preferably real Valenciennes, if it 
can be afforded. Lace insertion, if used, must be of 
dainty design, to match the edging. If entre-deux 
or beading is used, it should be as fine as or finer 
than the material in the garment. The very dainti¬ 
est dresses frequently have a few tiny, hand-sewed 
tucks at the neck, or the fulness is held in by a bit of 
smocking no wider than the space taken up by the 
tucks in the dress shown above. A little hemstitch- 


[ 40 ] 





[ 


LESSON SIX 



Fig. 1, hemming lace 
to material, right side. 

Fig. 2, slitting mate¬ 
rial hack of lace, 
wrong side. 



Fig. 1- 




I 


[ 41 ] 




























LESSON SIX 


ing, used instead of the insertion, gives a bit of vari¬ 
ation in treatment also. 



In making the Gertrude, use French seams 
if working with nainsook, and flannel-fell seams 
if making a flannel garment. To make the 
flannel-fell, trim one edge of the seam away; lay 
the other edge of this and press flat. Finish the 
edge of the seam with catch stitching, taking one 
stitch in the edge of the seam, and another in the 
cloth of the garment. This should be done with 
fine sewing silk. Instead of this, a row of feather- 
stitching (Fig. 8) may be put on the right side of 
the garment to finish the seam. Face the neck, 
shoulders, and armholes with a narrow bias strip 
of nainsook and feather-stitch along the lower edge 
of the facing. 

If a scalloped edge is desired for the petticoat, 
the scallops may be stamped on the flannel with a 
transfer pattern. A small scallop is best at the neck 
and armholes. For the method of working the 
scallops, see Fig. 7. 


[ 42 ] 
















LESSON SIX 



In making the little wrapper, use flat seams on 
wool material. The front, neck, and sleeves may 
be faced or hemmed, and then finished with hem¬ 
stitching, or some other attractive bit of stitchery, 
such as feather-stitching or brier-stitching. A 
blanket-stitch, such as shown on the wrapper illus¬ 
trated, also makes a dainty finish, or a binding of 
wash ribbon rnay be used, although this does not 
look so fresh after laundering. The top of the 
hem, at the bottom of the garment, may be finished 
with feather-stitching, or brier-stitching, and the 
wrapper tied together in the front with washable 
ribbon. 

When making the dress with the set-in sleeves, 
the tucks should be sewed in and the lace insertion, 
hemstitching (Fig. 9), or feather-stitching (Fig. 8) 
applied before the parts of the garment are joined 

[ 43 ] 



















LESSON SIX 


together. To set in lace, first baste it to the gar¬ 
ment, turning in the lower end to a point or 
rounded edge. Then hem with fine cotton to the 
right side of the dress (Fig. i). Turn to the wrong 
side; slit the material and cut it away (Fig. 2) ; 
then whip the raw edge of the material to the dress 
(Fig. 3). This makes a smooth, durable finish. 

French seams may be used on either type of 
dress. The opening in the back should be finished 
as a bound placket. Cut a lengthwise strip of cloth 
I inch wide, sew one edge in a seam all around 
the opening; turn in the other edge, and hem to the 
garment, over the seam. On the right-hand side, 
fold the binding back on the garment, allowing 
it to extend out flat on the left-hand side for fasten¬ 
ing (Fig. 10). A narrow, bias binding of the 
material of the dress may be used as a finish for the 
neck. If entre-deux is used around neck, armholes 
and wrists, it may be put on as a binding (Fig. 4), 
and the lace edge sewed to the outer edge of the 
entre-deux (Fig. 5). Another method is to finish 
the edge of the entre-deux with a narrow, bias bind¬ 
ing of the material (Fig. 6). Where entre-deux is 
not used, a narrow band of the material miay take 
its place. This may be feather-stitched, if the dress 
is so trimmed and the sleeves may be set in with 
entre-deux. 


Patterns for wrapper, Gertrude ( 7 - 3 ), and plain 
dress or slip ( 7 - 1 ), are 10 cents each; dress with 
set-in sleeve, 15 cents. Send stamps, check or 
money order to Good Housekeeping Pattern Service., 

[ 44 ] 











Lesson Seven 


A Tailored Sports Frock and a Chiffon 
Evening- Dress 

A DAINTY evening dress, suitable for the din¬ 
ner engagement or summer dance, may be 
made of chiffon or Georgette crepe, and a tailored 
model for sports wear would make up well in tub 
silk, crepe de Chine, linen, or even flannel, should 
one wish to have a slightly warmer costume. 

The evening dress has a skirt designed in three 
flounces, which are cut in separate sections for both 
front and back. The edges of the flounces, the 
neck, and lower edges of sleeve caps are bound with 
narrow, bias folds of the material. Bands of rib¬ 
bon, or of silk like the slip, or of a contrasting 
color, are stitched to the blouse, as indicated in the 
sketch. A soft girdle may be made of satin or of 
the dress material, and the flower which finishes it 
may repeat or harmonize with the color of the 
bands. The slip may be made of a contrasting or 
self-color, depending on which will better bring 
out the coloring in the material. 

The chief interesting features of the tailored 
frock are the tucked vest with box-plait overlap¬ 
ping the dress in center-front, tailored sleeves with 
faced placket and French cuffs, set-in pockets, and a 
narrow leather belt; a belt of the material may be 
used, but it is not so smart. If striped material is 
used for the dress, the vest may be cut crosswise of 
the goods, instead of using tucks as decoration. 

[ 45 ] 



LESSON SEVEN 


Before basting the parts of the garment to¬ 
gether, decide upon the kind of seam you will use, 
because if stitched fells or French seams are used, 
these should be basted so the seams are on the right 
side of the garment. For the tailored frock, 
stitched fells, French seams, or plain seams over¬ 
cast are suitable, depending on the kind of material 
used. The dress of chiffon or Georgette crepe 
will require French seams throughout. 

In making the placket for the sleeve of the tail¬ 
ored frock, five easy steps are necessary, (i) Fold 
the sleeve lengthwise, on a line with the top of the 
opening marked for the placket, and run a dart by 
hand, one-eighth inch wide or less, beginning at the 
top of the opening and running to a point one-half 
inch above the opening (Fig. i). (2) Place the 

right side of the facing to the wrong side of the 
sleeve, and sew a very narrow seam by hand with 
fine running stitches, all around the opening (Fig. 

2) . (3) Lay the sleeve on the table and fold the 

broader side of the lower edge back on the sleeve 
(Fig. 3). Crease the facing back and baste the 
folded edge on the narrow side of the sleeve as far 
as the top of the opening; then measure in from 
this folded edge three quarters of an inch (never 
any more), and cut as far as the top of the open¬ 
ing; clip toward the folded edge of the facing, only 
enough to turn a very narrow edge and baste (Fig. 

3) . (4) Drop the wider part of the sleeve to place 

again; turn away extra material of the facing and 
turn in edges, being sure to cover the dart at the 

[ 46 ] 





LESSON SEVEN 



Patterns for the tailored sports frock and the eve- 
ninQ dress way be, obtained in ,snzes 34 to 40 at 60 
cents apiece. Send stamps, check or money order 
to Good Housekeeping Pattern Service. 

[ 47 ] 














LESSON SEVEN 


top (Fig. 4). (5) Shape the top of the facing to 

a point and stitch the edges and across the top as 
shown in Fig. 5. Sew the seam in the sleeve, using 
whatever type of seam has been previously decided 
upon. 

To make the French cuff, seam the two parts of 
the cuff together on the wrong side; turn it right 
side out, but do not stitch the outer edge of the 
cuff until it has been placed on the sleeve. As the 
French cuff should be fastened with link buttons, it 
will be necessary to fold the under part of the 
placket facing back on the sleeve, before placing 
the cuff (Fig. 6). Stitch all around the outer edge 
of the cuff. 

Tuck the pieces for the vest before cutting them 
out. Then baste and stitch the box-plait and the 
facing for the rever to the edge of the right-hand 
side of vest, the facing being basted to the right 
side and the box-plait to the wrong side (Fig. 7). 
Stitch the seam and turn the facing to the wrong 
side, and the box plait to the right side. On the 
left-hand side, both the facing for the rever and the 
front facing may be placed on the right side for 
the first stitching (Fig. 8). Place the vest in place 
in the dress and adjust the end of the box-plait, 
which extends over the front of the dress. Turn in 
the edge of the dress over the vest, then baste and 
stitch around the edge of the vest and box-plait. 
Hem the top of the box-plait to the waist, where 
the revers turn back (JFig. 8). Baste and stitch the 
collar to place. 


[ 48 ] 






LESSON SEVEN 



Fig. 1 Fig. 2 Fig. 3 Fig. 4 



Fig. 5 Fig. 6 - 

Fig. 7 



Fig. 8 


Fig. 1 dart at top of placket-opening 
in sleeve; Fig. 2 placing of facing on 
sleeve; Fig. 3 finishing under facing 
of placket; Fig. 4 upper facing in 
place ready for finishing; Fig. 5 fin¬ 
ished placket; Fig. 6 setting cuff to 
sleeve; Fig. 7 placing facing and ap¬ 
plied box-plait; Fig. 8 finishing ap¬ 
plied box-plait. 


[491 
















































Lesson Eight 

A Tailored Street Frock 

H ere is a very attractive and adaptable de¬ 
sign for a fall frock, the construction of which 
has some interesting features. The design is given 
its note of distinction by the circular tunic falling 
from below the waist-line to within a short distance 
above the lower edge of the skirt and stopping at 
the side front, just at the end of the surplice open¬ 
ing. It is adaptable to a variety of materials and to 
more than one type of figure. It can be worn by 
the tall, slender woman or by the shorter, stout 
woman. 

Either wool or silk material may be used for this 
model, although it is primarily intended for wool— 
charmeen, Juina cloth, kasha, or soft serges being 
especially suitable at this season. Of the silk mate¬ 
rials, faille or bengaline, satin-back crepe, or satin 
would be a good choice. Embroidery suggests 
itself for decoration on the satin, but bands of self¬ 
material would be effective on the satin-back crepe. 
For the latter, the bands could be made of the 
wrong side of the material, which would add in¬ 
terest to the design. 

Before cutting the material, the paper pattern 
should be pinned together and tried on the figure 
to see if the length of skirt and sleeve is correct, 
and if the line at top of tunic is in the right relation 
to the waistline. Note also the shoulder and un¬ 
der-arm seams as to direction and the width across 
the back of the shoulders. If charmeen or serge 

[50] 


LESSON EIGHT 



is used, the pattern may be placed either way on 
the cloth, as far as up and down are concerned, 
but if the material Is Julna cloth, which has a nap. 
It will necessitate placing the pattern all one way 
of the cloth, so the nap will run toward the lower 
edge of the garment. In 
any case, be careful to 
place the patterns for the 
two fronts so as to cut 
them correctly for the 
right and left sides. 

Mark all seams, either 
with tailor basting or by 
folding the pattern back 
on the sewing lines, and 
running a line of basting 
along the cloth at the 
folded edge of the pat¬ 
tern; after removing the 
pattern, mark the seams 
on the other piece of cloth. 

Mark all notches, do not 
cut them. Pin and baste 
shoulder seams; 
baste sleeves In 
place before clos¬ 
ing the under-arm 
seam. Baste a 
narrow strip of 
cambric at the 
neck along the 


[ 51 ] 





LESSON El GH T 


bias edge to keep it from stretching while fitting 
dress. Turn up hem and pin in place before the 
frock is fitted. 

When the frock is tried on, note the same points 
observed when trying the pattern, but even more 
carefully. It is important that the placement of 
the embroidered bands is in the right relation to 
the length of the figure, depth of hem, and distance 
from the floor. Make all alterations carefully, re¬ 
move frock, rip seams, and mark alterations on 
corresponding seams. Do not put the parts to¬ 
gether again until the embroidery is done. The 
design illustrated, detail of which is given in Fig. i, 
is simple to embroider, yet most effective. It is 
worked solid with six strands of six-strand em¬ 
broidery floss, and the work goes quickly and easily. 

After completing the embroidery, sew the seams 
in the garment, stitching the shoulder seams first. 
Pink or bind the seams, after having pressed them 
carefully with a damp cloth over them. Use a 
warm, not too hot iron; remove the cloth while 
drying the seams. Do not dampen silk when press¬ 
ing it. The arm-hole seam should be bound with 
taffeta seam binding. 

Baste the two parts of the collar together, stitch, 
turn, and press on the wrong side. Baste the collar 
to the neck of the frock, holding the edge of the 
dress a bit full over the bust, so that the collar will 
be kept tight enough not to stretch and cause it to 
stand away from the neck. The shawl collar should 
be finished with a fitted facing which can be cut as 


[ 52 ] 




LESSON EIGHT 



shown in Fig. 2, using the pattern and cutting the 
facing wider than you would a simple, bias facing. 
(The dotted line on the detail sketch indicates 
width of facing.) Pink inner edge of facing. Stitch 
facing and collar to neck of dress at same time; 
turn facing back and baste; press. Tack inner 
edge to shoulder seams and at end of opening. The 
wider facing (Fig. 3) will not roll back easily and 
is better than turning in edge of narrower facing. 



[ 53 ] 






















LESSON El GH T 


The hem may be pinked and then catch-stitched 
to the skirt, or, if of thin material, it may be turned 
in at the top, blind-hemmed, and pressed. The 
tunic should be faced around the edge. The lower 
edge cannot well be hemmed, because it is too cir¬ 
cular. If binding is used on the collar, it should 
also be used on the edge of the tunic. Turn in the 
top edge of the tunic, clipping it at the turn of the 
point, so it will lie smoothly on the garment (Fig. 
5) ; baste and stitch tunic in place on the garment 
and press very carefully. 

The sleeves should be faced so as to cover the 
wrong side of the embroidery. This facing may 
be cut by the lower part of the sleeve pattern, 
seamed and then placed on the sleeve, with the two 
right sides together. Stitch, turn and press the 
sleeve and facing, then blind hem the facing to the 
sleeve at the upper edge. If bindings are used on 
the collar and tunic, they should also be used on 
lower edge of sleeves. 

When placing snaps, after sewing a number of 
stitches over the edge and through the hole, slip the 
needle through the cloth and up through the next 
hole, as shown in Fig. 4. 


Patterns for this frock in sizes 34 to ^%re 60 
cents each. Send stamps, check or money order to 
Good Housekeeping Pattern Service. Transfer 
pattern for embroidery design is in Anne Orr’s 
Hot-Iron Pattern No. 3204, piice 25 cents. Send 
stamps to Anne Orr, Good Housekeeping, N. Y. 


[ 54 ] 








Lesson Nine 


Gowns for Festive Occasions 

T hese two charming gowns will enrich the 
wardrobe, and yet are well within the scope 
of the home-sewers’ ability to plan and make. 

The design which shows the long tunic is suitable 
for a range from fourteen to twenty years; the 
other has a more limited range, being suitable for 
the young woman of eighteen to twenty or more. 
Both can be made from the same pattern however, 
because any difference in cutting or marking, is 
clearly shown on the pattern and differences in con¬ 
struction are brought out in the text of the lesson. 

Materials: The design with the long tunic 
would be charming made up in black and white 
satin, that is the skirt and the girdle of the black 
satin and the panel of flesh colored chiffon. The 
roses worn at the girdle should repeat the color of 
the panel and also some other harmonizing color 
in deeper value. These flowers may be purchased 
ready-made, or they may be made according to the 
legends which accompany the sketches. One can 
easily follow these directions with pleasing results. 

The gown with the shorter tunic should be made 
of one material, its only decoration being the three 
bands of beaded trimming. Either gown, if made 
of sheer material, will necessitate the most careful 
attention to the slip that is to be worn with it. 

Cutting Garments: Place the pattern ac¬ 
cording to, directions given on the direction sheet, 

[ 55 ] 




LESSON NINE 


with center fronts and backs on lengthwise folds of 
the material. Allow more seam than the pattern 
provides for on shoulders and underarm seams. Be 
careful to have clean-cut edges on your seams, be¬ 
cause the very sheer materials cannot be traced to 
mark sewing lines. Remember exactly how much 
seam you have allowed, in order to baste correctly. 
Mark all notches carefully. 

Fitting Garments: Try the linings first. 
Look at the shoulder and under-arm seams to see 
that they follow a good direction. If the garment 
is too loose, pin the seams in; if too tight, rip the 
bastings and re-pin seams, letting out as much mate¬ 
rial as is necessary. See that the waist-line is in cor¬ 
rect position and then the line at the bottom of the 
skirt; correct this if necessary, by raising or lower¬ 
ing at the waist-line, so as not to change the straight 
grain of the material at the lower edge. 

Fit the outer garment in the same way as the 
other, giving especial attention to the neck-line and 
the proportionate depth of the tunic. 

Making Garments: If hemstitched seams 
are to be used, these should be taken to the hem- 
stitcher as soon as the fittings are completed. Do 
not trim the seam away for a picot edge, but trim 
the cloth away on the outer edge of the hemstitch¬ 
ing as this will make a stronger seam. French 
seams should be narrow. 

The neck and armholes of both garments should 
have a very narrow binding of the material. This 
must be cut on a true bias. It is well to cut the 


[ 56 ] 









LESSON NINE 



One pattern for both evening gowns may be had in 
si 2 es 14 to 20 or 34 to 40, price 60 cents. Send 
stamps, check or money order to Good Housekeep¬ 
ing Pattern Service. 


[ 57 ] 











LESSON NINE 


bias bindings for tbe sheer materials double the 
width you would cut for other materials, and when 
placing them, sew the two raw edges to the garment 
first, which leaves the folded edge to hem to the 
first sewing, thus making a neater finish. Care must 
be taken, however, not to twist the bias strip or 
a very puckered binding will result. 

Sew the beaded braid to the short tunic gown 
before attaching the outer part to the lining; use a 
running stitch for this purpose, a short stitch on 
the right side, and a longer on the wrong; sew both 
edges of the braid if necessary. Sometimes sewing 
only the top edge will make a more effective finish. 

The lower edges of the tunics and skirts may be 
bound, except the lower edge of the black satin 
skirt which perhaps will look \better with a hem. 

The edges of the panel of the long tunic gown 
should have a picot edge. The top may be gath¬ 
ered (several rows) to bring fulness into position. 

Making the Rose : Taffeta is the best mate¬ 
rial to use for this particular sort of flower, which 
is rather flat and lends itself to attractive placement 
at the top of the panel. 

The diagrams showing the size of petals and the 
method of cutting are found in Fig. i (a and b). 
(Fig. 2) shows the size, method of cutting, folding 
and winding the center of the rose. The wire 
which is used for this purpose is called tie-wire and 
can be bought at a millinery store. Should you not 
find it in your town, try to get the green paper cov- 

[ 58 ] 








LESSON NINE 



Fig. 3 


ered wire used for paper flowers; stationers usually 
carry this. 

(Fig. 3) (a and b) shows the method of folding 
and rolling the edges of the petals of the rose and 
how to place the petals about the center. 

[ 59 ] 







































Lesson Ten 


Afternoon Gown 


HE very smart afternoon gown shown in the 



sketch and which is the subject of this lesson, 


has much to recommend it from the standpoint of 
design, economy and practical experience in con¬ 
struction. The gown consists of a black satin slip, 
over which is a tunic of beige crepe de chine. The 
band of embroidery adds just the necessary deco¬ 
rative touch. An interesting bit of repetition is 
achieved in this design by the manner in which the 
tunic opens at the neck, and lower part of the skirt, 
showing the satin slip beneath. 

The Patterns: Purchase the pattern accord¬ 
ing to the bust measure. It is better to pin the 
parts of the pattern together on the seam lines and 
according to the notches and slip it on before buy¬ 
ing the materials, to ascertain whether you need to 
purchase additional material for extra skirt length. 

At the same time, note whether there is suffi¬ 
cient width across the back and over the hips. These 
gowns should hang in unbroken lines when the fig¬ 
ure is not in motion. When testing a pattern, see 
that the center-front and back of the pattern come 
to the center-front and back of the figure; if not, 
allowance must be made in cutting. The direction 
of the shoulder and under-arm seams should also be 
noted. 

Buy the quantity of each kind of material for 
which the pattern calls, allowing extra length if 


[ 60 ] 



LESSON TEN 



Patterns for this frock may be had in sizes 34 to 
40 , price 60 cents each. Send stamps, check or 
money order to Good Housekeeping Pattern Ser¬ 
vice. The design for embroidery used on skirt is 
in Anne Orr’s Hot-Iron Pattern No. 1406 , price^ 25 
cents. Send to Anne Orr, Good Housekeeping. 

[ 61 ] 


























LESSON TEN 


the wearer is tall, or if material having a pattern 
to be matched, is desired. 

Cutting: Place the parts of the pattern on the 
material according to the directions thereon—the 
center-back and front of slip, skirt and )waist on 
lengthwise folds of the material, and the remain¬ 
ing pieces with parts indicated on a lengthwise 
thread of the material. Allow more seam than the 
pattern does to provide for any necessary outlet or 
change in line, and also for finishing. 

Basting and Fitting: Pin the parts of the 
garment together according to the notches. Baste 
seams, using small stitches where there will be strain 
in fitting. Place a dart in front of slip and then baste 
under-arm and shoulder seams. Place the skirt to 
the waist part of the tunic; take up the dart in the 
front of the waist; baste shoulder seam and baste 
the sleeve in place before closing the under-arm 
seam. Baste seam of cuff. 

Try slip on; see that shoulder and under-arm 





Fig. 4 



Pig- A, binding the armhole; Fig. 5, 
band slip stitched to faced panel; Fig. 
6, setting cuff to net sleeve. 


[ 62 ] 



















LESSON TEN 


seams are in good position; that there is ease 
enough across the back at the hips. Correct the 
armhole line and adjust the neck if necessary; then 
turn the line for a hem at the bottom. Put the 
tunic on over the slip, and make all necessary 
adjustments or alterations. The width across the 
back should give ease and freedom and yet cling 
somewhat closely to the figure. 

The; Slip. French seams may be used under 
the arm, but plain seams, overcast singly and 
pressed open are better for the shoulder, especially 
as one shoulder seam will need to be left open for 
almost its entire length and closed with snap fast¬ 
eners, so as to admit of taking on and off. One 
edge of this seam should be faced back and the 
other left as an extension. A net sleeve cut from 
the sleeve pattern and attached to the slip, is the 
most satisfactory way to handle the cuff. If attached 
to the outer sleeve, it will pull the facing and show 
the line of sewing. This net sleeve should be fitted 
close at the lower part to fit the cuff. 

Blind stitch the hem at the lower edge. The 
illustration (Fig. i), shows a fitted facing for the 
neck. This is cut on the same grain as the slip and 
about two inches wide. It is seamed at the shoulder. 

The Tunic: The kind of seam for joining 
waist and skirt together is shown in (Fig. 2). It is 
a plain seam, and then the two edges are turned in 
toward each other and run by hand. As it is some¬ 
times necessary to use a bias facing because of lack 
of material, this is shown in (Fig. 3), for such a 

[ 63 ] 




LESSON TEN 


neck as there is on the tunic which necessitates two 
different mitered corners. 

The armhole should be finished with a narrow 
bias binding, first sewed to the outside of the seam 
and then turned in and hemmed to the machine 
stitching on the inside of the seam. This binding 
should be put on before the under-arm and sleeve 
seams are stitched (Fig. 4). The lower edge of the 
sleeve should be faced with a fitted facing. 

The lower parts of the tunic should be faced 
with chiffon or crepe Georgette, from the bottom 
to two or three inches above the end of the open¬ 
ings. The edges of fold on bottom of tunic are 
turned in and slip-stitched to tunic (Fig. 5). 

The seams of the cuff and facing should first be 
stitched and pressed; then the two right sides placed 
together and lower edge stitched in a seam; the cuff 
should then be turned and pressed. 

The method of joining the cuff to the net sleeve 
is shown in (Fig. 6). The edge of the cuff and 
edge of sleeve are both turned, the sleeve to right 
side and the cuff to the wrong. These edges are 
lapped (lapped seam) and each edge stitched by 
hand or machine. 

The sash may be lined with satin or chiffon, tied 
and placed to garment and carefully tacked on 
seam so as not to tear material of garment. The 
flowers should be flat and of the colors carried out 
in the embroidery. 

The embroidery design shown on tunic comes 
in Anne Orr’s Hot-iron pattern. 


[ 64 ] 





Lesson Eleven 


The Costume Complete 

HE accompanying sketches show one of the 



J[^ most attractive and practical modes of the 
day. When the coat is worn, one has the complete 
well-fashioned tailored suit, while without the coat, 
one has an informal gown, attractive in style and 
suitable for many occasions. 

Remember in buying the materials, that allow¬ 
ance must be made for cutting material all one way 
if cloth which has a nap is used, such as Juina cloth, 
duvetyn, or broadcloth, and also for the shrink¬ 
age of the cloth in the sponging process. 

Cutting Garments: Follow the directions 
on the patterns for the correct placing of other 
parts with regard to the grain of the material. Be 
careful to place the parts of the pattern all one 
way (so the nap will run down), on the napped sur¬ 
face cloths. Allow more seam than the pattern calls 
for the under-arm and shoulder. Do not cut 
notches. Mark with colored thread. 

Basting Garments: The sewing lines of the 
coats must be marked with tailor basting, as fol¬ 
lows: Fold the edges of the pattern back on the 
traced sewing lines, and having a double thread 
without a knot, in the needle, take running stitches 
about three-eighths of an inch in length leaving a 
loop in each stitch. Follow the folded edge of the 
pattern, and when completed, take hold of the 
edges of the cloth and pull them apart, and clip 
the stitches, which will leave a row of stitches on 


[ 65 ] 



LESSON ELEVEN 



Patterns for this complete suit may be purchased 
in sizes 34 to 40, price $1.00 each. Send 'check or 
money order to Good Housekeeping Pattern 
Service. 


[ 66 ] 
































LESSON ELEVEN 


each piece of cloth indicating corresponding sewing 
lines (Fig. i). 

Fitting Garments—Gown: Slip the gown 
on the figure. Look it over carefully. Note the 
general direction of its seam lines, and whether it is 
easy or snug in any part. Change the neckline if 
it is not good, taking up on the shoulder, if too 
loose, or indicating a new line with a row of pins. 
If the shoulder line is too long rip out the sleeve 
and mark a new armhole line and pin the sleeve in 
place again, taking up the seam if the sleeve is too 
large around the arm. Turn the line at the bottom 
for the hem. Remove gown, make alterations and 
try on again before sewing. 

Coat: Put the coat on for fitting over a dress 
as simple in style as the gown just fitted. Pin to¬ 
gether, lapping the fronts so that the center front 
lines just meet. Look the coat over very carefully 
to see the direction of the seam lines (the shoulder 
seam of a coat slants more toward the back at the 
armhole than dress seams usually do). See that 
the dart under the lapel does not throw too much 
fulness over the bust. If the shoulder is too long, 
mark a new line with pins. Fit the sleeve carefully. 
Its lines must be good, but it will be looser than a 
dress sleeve. See that the coat is easy at the bust 
and hips; if not, let out the under-arm seam. 

Remove the coat and make alterations, re-baste 
and try on again to verify corrections. 

Making Garments—Gown: The same gen¬ 
eral directions for making and finishing the silk 

[ 67 ] 





LESSON ELEVEN 



so on, will be found in Lesson Ten. Therefore, 
the more difficult processes of construction will be 
given attention here. 

Stitch and finish the shoulder seams; stitch 
sleeves in the arm-holes and finish seams. Open 
up the under-arm and sleeve seams while placing 
the bands of cloth at the neck and on the body of 
the dress. 

Placing Bands of Cloth: Baste, stitch and 
press the shoulder seams of the bands. Turn in all 
the edges of the bands, on the seam lines; baste and 
press them very flat. Turn the edges of the neck of 
the gown toward the right side of the garment. 
Place the edges of the cross bands and the gown 

[ 68 ] 

























LESSON ELEVEN 


together at the neck and baste; then baste the lower 
edges of these bands to place; slip-stitch both edges 
to the garment. (Fig. 2.) Then baste both edges 
of the long bands to the gown and slip-stitch these 
to place. Before slip-stitching, however, pin up 
the under-arm seam and slip the gown on to see 
that the bands are smooth; complete the slip-stitch¬ 
ing to within a few inches of the under-arm seam 
of the gown. Place bands on sleeve and slip-stitch. 
Stitch, press and finish under-arm and sleeve seams. 
Face sleeve at band. Complete slip-stitching on 
band at under-arm seam. 

Coat : When the coat has been fitted, rip 
shoulder and under-arm seams, as it is easier to do 
the work on the fronts when the coat is apart. Stitch 
and press the seams in the back. Always use a 
damp cloth over the coat when pressing, and do not 
press on the right side. 

It is necessary to use an inter-facing on the front 
of the coat for the “padding” and on the back as a 
“stay” where the sleeves are sewed in. Soft un¬ 
bleached muslin which has been shrunk will be best 
for this purpose. 

Cut the interfacings by the front and back of 
the coat pattern shaping them as shown in (Figs. 
3 and 4). Baste the facings to place and catch-stitch 
the inner edge of the back facing to the cloth, not 
letting the stitches show through the right side, 
(Figs. 3 and 4.) Stitch and press the dart very flat. 

Padding Revers and Collar: Padding is 
used to make the revers and collar roll back on the 


[ 69 ] 





LESSON ELEVEN 


coat instead of turning toward the inside. This is 
done by sewing diagonal rows of stitches through 
the cloth and interfacing extending from the line 
on which the revers turn, to within three-eighths 
of an inch of the edge (Fig. 3) and on the collar 
from the rows of machine stitching which are 
placed before padding, to within three-eighths of 
an inch from the edge (Fig. 5). 

Facing and Stay Tapes : Place the right side 
of facing to the right side of the coat; baste up the 
front and across top as far as notch where collar is 
to join. Stitch; press seam open, trim off points at 
corner so seam will not be thick when turned. 

Baste stay tape to place on inside edge of seam; 
hem to seam and inner edge to interfacing (Fig. 6). 
Turn facing to wrong side of coat; baste on folded 
edge and press. 



"^Fig. 7 Placing 
Flap, Right Side. 


Fig. 8 Placing 
Front of Pocket.'^ 


*<F i g . 9 Stay 
Piece, Wrong 
Side. Packet 
Drawn to Wrong 
Side. 

"^Fig. 6 Placing 
Facing and Stay 
Tape. 




n 


[ 70 ] 























LESSON ELEVEN 


Pockets : Mark for slit. Baste a strip of cot¬ 
ton cloth on wrong side of coat for a stay for sew¬ 
ing pocket (Fig. 9). Stitch two parts of flap to¬ 
gether; turn and press. Place right side of flap to 
the right side of the coat and baste just below line 
for slits (Fig. 7). Baste edge of silk or cotton part 
of pocket to seam of flap (Fig. 8). Cut the slit and 
pull pocket through to wrong side (Fig. 9). This 
also shows stay piece. 

Stitch the cloth part of pocket (wrong side coat) 
to the other piece; overcast raw edges (Fig. ii). 
Stitch the back part of pocket to the upper edge of 
slit (Fig. ii). 

Turn the flap up on the right side of the coat in 
position, baste in place and press well. Back-stitch 
(from the back) the flap to the coat. Fig. 12 
shows the finished pocket. 

Collar : Join the two parts of the collar, turn 
and press. Stitch the under side of the collar to 
the coat; turn in the other edge of the collar and 
the edge of the facing (so they just meet), as far 
as the turn of the revers. Press and slip-stitch the 
edges together (Fig. 13). 

Finishing Lower Edge of Coat: Place a 
one inch bias strip of muslin at the bottom of the 
coat, so that the edge comes to the finishing line. 
Catch-stitch the top of this strip to the coat. Turn 
up the edge of the coat and baste; press, and catch- 
stitch to the bias strip of muslin. Turn the edge of 
the facing in to meet the edge of the coat and slip- 
stitch these edges together. 

[ 71 ] 








LESSON ELEVEN 



Lining Coat: Place buttons before lining is 
put in. This coat is fastened with large snap-fast¬ 
eners. 


Shrink out the fulness in the top of the sleeve; 
fasten the gathering thread and lay top of sleeve 
over a small tailor cushion; dampen sleeve, and 
slowly shrink the fulness, using a moderately hot 
iron (Fig. 14). Tack the sleeve lining to sleeve at 
the seams and hem to lower edge. 

Seam the back lining and tack the seams to the 
seams of the coat, keeping lining easy. Tack to 
the under-arm seam. Place front lining and slip- 
stitch to facing; hem to under-arm seam, shoulder 
and neck. Place and stitch sleeve in arm hole. Then 
hem the sleeve lining over on to the coat. 

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